\u201cCinema, Europe, and AEGEE… What kind of relationship exists between them?\u201d You may have asked yourself this question when you saw the title of the article… and no, it is not a joke. This is the start to a brief series of four articles about the links that exist between cinema, Europe, and AEGEE to understand the history of this organization in the continent over its life of more than thirty years, from the 1980s to the 2010s.<\/p>\n\n\n\n
\tBefore we start, perhaps you have another question: why use cinema to explain the history of Europe and the development of AEGEE? Well, because cinema is a useful tool which helps us understand the society of many different countries. Taking some of the research work that has been done, some historians like Marc Ferro (1924), Pierre Sorlin<\/a> (1933), or Shlomo Sand (1946), it shows surfaces and shadows that reveal the attitudes of the people; regardless of the place and the period in which we are studying. This is what Ferro calls a \u201ccounter-analysis\u201d of the society, with elements and aspects that were hidden until they are revealed some years later.<\/p>\n\n\n\n \tThis is one of the aims of this series, written in a way that is easy to read for any kind of reader, as a way to divulge these three elements. In the first chapter, we start with the 1980s (travelling with a DeLorean, of course<\/a>!) and we talk about the one film that shows the general situation in the continent: The Name of the Rose<\/em> (Jean Jacques Annaud, 1986), based on the novel written by Umberto Eco (1932-2016) in 1980, and one of the most successful best-sellers<\/em> of the end of the 20th Century.<\/p>\n\n\n\n